Architecture considered to be the oldest of all arts always stood the most important and pragmatic role of them all. One of architecture’s duties is to stand as a platform for exhibiting other art mediums. In “Enclosed Space” artists reverse its role. In the neutral space of white cube artists explore its fundamental elements and tasks by creating their own vision of them. Some exhibited artworks modify elements hidden in the building’s flesh, other works present ready-made building elements that change their meaning and give a new perspective in the white-cube space. Part of the exhibition is created by new forms that by material and form connect themselves to architecture, but by their composition and malfunctioning form present rather its opposition. Some of the presented artworks get the inspiration from architecture’s repetitiveness and reproducibility by using its elements as geometrical decorative patterns which could be placed close to Bauhaus aesthetics.
Presented forms include sound installation, sculpture, 3D architectural models, digital painting space intervention, ready-made, photographs and site specific temporal architecture sculpture that question defined ways of architecture.
Vernissage: 1st August, 6pm
Closing: 26th August
Manteuffelstr. 42, 10997, Berlin
Thursdays & Fridays: 5pm – 8pm
Saturday: by appointment
“Poised between composition and improvisation, an aesthetic ecosystem of subtle relationships, dramatic balances, and constant surprise comprises the work of Jessica Buhlmann.
More than mere representation of nature, Buhlmann’s 3D installation work, a continuation of her 2D drawings and paintings, replicates the processes of natural systems in the studio. Nature is her co-conspirator: the artist collaborates with randomness, accidents, contingencies on multiple levels, guided by an intuitive yet deeply considered sensitivity.
~ He Zhao, “Comprovisation”, October 2020
Elizabeth I, Elizabeth II, Elizabeth and Fur
The assemblage takes periods of time into the centre of the research. The different spaces are synchronised and span the given frame. Questions about possible creators, years of origin, owners, locations and the resulting functions of the various objects naturally intrude. If only because we seek meaning and categories in our contemplation. We have a need to order in order to comprehend quickly. But in doing so, we come up against limits in our thinking. Rather, the assemblage throws off all questions of their different origins and histories. The objects come together in a different context. Through the artistic decision to intertwine time and space, a new history begins, which we can take visual possession of.
Westminster Boxes (2001) is a series of photographs consisting of images that both record reality with the objectivity of a document and have the same matter and morphology of a sculptural installation.
As an installation in a socially active space, the photographs transmit social reality and draw their own conclusions. Parallel to this theatrical act, photography is used as a record to abolish the power and role and utility of the photographed public monuments, which are shrouded by official decree for protection.
The shrouded statues cease to exist. The artist is thus presented with a unique opportunity to capture a scene of great historical significance that could well herald the end of an era.
The black box installation refers to the recording devices on board flying machines, and at the same time to a fictitious shelter, in the midst of prevailing wars, armed conflicts, like those that have long been unfolding around us.
Inside, one sees debris from aircraft scattered on its steps, covered with ash, splintered wood and grass, which constantly gives a sense of the slowly dissipating energy of the missing in the air. The cube-like shape of the construction, as well as its composition of coated metal plates, add energetic meaning and properties of a healing energy transformer that centres positive energy and transforms negative. Interactive action and meditative rituals in dealing with the healing object would possibly release even more energy….
The new works deal with basic forms and objects from equipment construction as well as architectural functional buildings.
It is a condensation of technical and industrial elements that appear detached from their surroundings and their size context like functional buildings.
These are transformed into a new world of forms and materials through the use of raw chipboard.
Model-like works are created by reducing the parts of formerly functional objects and architectures and thus become sculptures that make us forget their original technical applications.
Katja Pudor creates palimpsest-like spaces of superimposed structures of thought and action. For her, drawing is a conceptually explorative as well as physical work. The drawings, which are often sound-based, are the result of intensive engagement with complex processes of reception and transfer. These translation processes are mental and physical processes that are shaped by the material, the format of the paper and the posture of the body.
Katja Pudor studied painting and free art at the Berlin-Weißensee School of Art with Katharina Grosse and graduated as a master student in 2005.
I am interested in spatial issues in relation to the possibilities of a sculpture – the interaction of sculpture with the space in which it stands. The sculpture as a space within a space.